Detalles del recurso

Descripción

This thesis examines the musical language of the first movement of Béla Bartók's Sonata no. 2, for violin and piano (1922). Exploring the use of inversional symmetry, interval cycles, octatonic harmony and the use of Z-cells. It shows how Bartók used symmetry to function analogously to tonal procedures; and examines the form of the movement, its shape, melodic/harmonic content, and climatic structure. Analytic methods are based primarily on the research of Elliott Antokoletz and the theory of twelve tone tonality. The movement's structure and various developmental procedures are presented. Detailed analysis is provided, showing Bartók's use of symmetry, and Z-cell interaction with octatonic harmony, inversional symmetry, and free treatment. It also shows, Bartók's developmental process of cell expansion/contraction and intervallic displacement linking it to the Second Viennese School. The movement epitomizes the extremely experimental nature of Bartók's middle period style.